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XXXIV. Of White and Black . . . . p. 64. XXXV. The Reflection of Colours :: 65 XXXVI. The Union of Colours * i. 65 XXXVII. Of the Interposition of Air 67 XXXVIII. The Relation of Distances 67 XXXIX. Of Bodies which are distanced 68 XL. Of contiguous and separated Bodies 68 XLI. Colours very opposite to each other

never to be joined i.ii.... 68 XLII. Diversity of Tints and Colours 69 XLIII. The Choice of Light .'ii. i 69 XLIV. Of certain Things relating to the

practical part ! ......... 70 XLV. The Field of the Picture* ... 76 XLVI. Of the Vivacity of Colours * 71 XLVII. Of Shadows i.ii.iiii 71 XLVIII. The Picture to be of one Piece 72 XLIX. The Looking-glass the Painter's

best Master .iiiiiiii.. 72 L. An half Figure, or a whole one before

others * ............ 72 LI, A Portrait iiii.....ii; 73 LII. The Place of the Picture . iii. 73 LIII. Large Lights . . ii.iiiii 74 LIV. The Quantity of Light and Shade to

be adapted to the Place of the Picture 74 VOL. III.

LV. Things which are disagreeable in

Painting to be avoided ..... p. 74 LVI. The prudential part of a Painter 75 LVII. The idea of a beautiful Picture . 75 LVIII. Advice to a young Painter** 76 LIX. Art must be subservient to the Painter77 LX. Diversity and Facility are pleasing* 77 LXI. The Original must be in the Head,

and the Copy on the Cloth ...... 78 LXII. The Compass to be in the Eyes* 79 LXIII. Pride, an Enemy to good Painting * 79 LXIV. Know thyself .........80 LXV. Perpetually practise, and do easily

what you have conceived ..... 81 LXVI. The Morning most proper for Work81 LXVII. Every Day do something · ... 82 LXVIII. The Method of catching natural

Passions .............. 82 LXIX. Of the Table-Book **..... LXX. The method of Studies for a young

Painter **** .......... 87 LXXI. Nature and Experience perfect

Art* ....... ....... 90

i APPENDIX

The following little piece has been constantly annexed to M. DU FRESNOY's Poem. It is here given from the former Editions ; but the liberty has been taken of making some alterations in the Version, which, when compared with the Original in French, appeared either to be done very carelessly by Mr. DRYDEN, or (what is more probable) to be the work of some inferior hand which he employed on the occasion.

M.

THE

SENTIMENTS

OF

CHARLES ALPHONSE DU FRESNOY,

ON THE WORKS OF

THE PRINCIPAL AND BEST PAINTERS

OF THE TWO LAST AGES;

1600 AŅD 1700,

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